Prism

About

There’s a joyous shimmer to Katy Perry’s third major-label album, <i>PRISM</i>, one that Perry herself didn’t expect to find initially. Going into her first few recording session, the confident, fun-loving pop singer struggled to find the light that so easily surrounded her previous album, the candy-coated <i>Teenage Dream</i>. That record launched her to extraordinary commercial height, but she was struggling emotionally—both with the expectation to live up to her quickly risen fame and with a public, messy divorce. Dealing with all this on a hectic tour schedule, Perry found the time to record snippets of song ideas into her iPhone; even while in a state of mental turmoil, she was trying to find a way out of the darkne. That thorny path ultimately led to the emotive burst of self-compassion that <i>PRISM</i> showcase, a refracted palette of bright pop (“Birthday”), groovy Eurodance (“Walking On Air”), and sweeping electro-ballads (“Unconditionally”). It’s as if the message of <i>Teenage Dream</i>’s “Firework” were splintered out into multiple musical recreation, given new life with a parade of Perry’s trusted collaborators and friend, like pop hitmakers Max Martin, Dr. Luke, and Bonnie McKee, enlivening much of <i>PRISM</i>’s crystal clarity. Lead single “Roar” is the ultimate feminist clapback, a jaunty, triumphant march that pulls from messages of the ’70s women’s liberation movement to deliver a powerful screed to anyone who dares prevent you from achieving happine. On the opposite end, still bracingly self-assured but unashamedly lustful, is “Dark Horse” (featuring Juicy J), a trap song that excels in being both loud and coy, Perry’s two personas sharing the spotlight with a coquettish wink. .

via Apple Music

The Clerk says

Start your shelf to read the full take →